I was unaware of the existence of Chandos’s series of Introduction
to ... recordings until they very generously offered every
recipient of their e-newsletter the opportunity freely to download
their Introduction to Vaughan Williams.
The opening performance of The Hebrides
Overture (better known as Fingal’s Cave) emphasises the mystery of the music rather than
the excitement of the crashing waves – Mendelssohn was struck
by both aspects of his visit to the cave on the island of Staffa. For all that it fails to live up to some of our
usual expectations of this music, it’s an accomplished performance.
It’s been recycled quite frequently – it was even once available
on the short-lived Boots own label together with other maritime
music and it’s also on Spirit of Scotland, CHAN10412X,
and Seascapes, CHAN6538 – but it’s none the worse for
that and the recording has worn well.
The inclusion of the first Piano Concerto, rather
than the expected Violin Concerto, is for me the highlight of
the CD. Most collectors, even those for whom an Introduction
to ... would be likely to appeal, will already have a version
of the Violin Concerto, or be likely to obtain one at an early
stage, usually coupled with the Bruch or Tchaikovsky – there
are plenty of versions to choose from, even in the lower price
categories.
It’s quite unusual to find a bargain-price version
of the First Piano Concerto: Peter Katin’s versions of both
Piano Concertos once featured on a Decca Weekend recording,
coupled with the Capriccio brilliant and Rondo brillant
(425 504-2, long deleted) – good performances but in rather
dated sound. Otherwise, as far as I am aware, the only competitor
in this price range is Benjamin Frith’s Naxos version of the four works
(8.550681), which I haven’t heard but which has been favourably
reviewed.
That the performance offered is by Howard Shelley
- as soloist and director of the London Mozart Players - is
an added bonus, since this performance combines technical virtuosity
and a delicacy of touch that ensures that this early work is
never overwhelmed. Shelley’s tempo in the outer movements is
brisk – he moves the music along without sounding rushed, especially
in the Finale where he takes 6:11 against 6:54 on the Katin/Collins recording.
In the slow movement, he gives the music time to breathe – 6:39 against Katin’s 6:13 – without sentimentalising
it.
In the Capriccio brilliant he also give
the music time to breathe – 11:28
against Katin’s 10:35; ensuring that the brilliance
inferred by the title is not at the expense of expressiveness.
When the brilliant music arrives, it is all the more effective
for the contrast with the rather measured opening Andante.
My only real criticism of this introductory CD is that it will
probably lead buyers to duplication when, as they will be tempted
to do, they purchase the parent Chandos CD, where Shelley performs
both concertos plus the Capriccio (CHAN9215).
The Wedding March was an inevitable choice
and it’s performed well by the RLPO under Sir Charles Groves,
stately but not pompous.
If the two piano works make an unexpected but very
welcome appearance on the CD, the more predictable choice of
the Italian Symphony as the final work is equally welcome
in the Philharmonia/Walter Weller version. Again, as with the
Shelley performance, my only complaint is that those seeking
recommendable versions of all Mendelssohn’s symphonies – and,
surely, most collectors will want at least Nos.3-5, the Scottish,
Italian and Reformation symphonies at some fairly
early stage – are unlikely to find a better combination of affordable
price, quality of performance and recording than the 3-CD Chandos
set with Walter Weller (CHAN10224X).
Weller’s tempi for the symphony are generally on
the fast side, though by no means excessively so. This is one
of those works, like Beethoven’s Seventh Symphony, where the
outer movements lend themselves well to fast speeds. I felt
that Weller might have given the slow movement a little more
time to breathe, but it is marked Andante con moto. The
con moto element is more in evidence here than in Wolfgang
Sawallisch’s otherwise very fine performance with the predecessor
of the same orchestra (then called the New Philharmonia) in
1966. The Sawallisch was formerly on Philips 422 470-2 with
the Reformation Symphony (no longer available). How about
a reissue from Australian Eloquence?
Only in the Finale is Weller marginally
slower than Sawallisch; this movement combines elements of the
saltarello and tarantella, both lively Italian
dances. The latter is said to be imitative of the action of
stamping on a poisonous tarantula spider or leaping about in
agony after its bite – as the Latin American cucaracha
imitates stamping on cockroaches. I would have preferred a slightly
more hectic pace in this movement. At least, that was my feeling
on my initial hearing – subsequently this account of the Finale
has grown on me.
Though made at different times, all the recordings
are more than acceptable. I tried the lossless download version
(wma) from Chandos’s theclassicalshop.net and found it fully
equal to CD quality; experience suggests that even the mp3 version
would be more than acceptable. I couldn’t find this recording
at classicsonline or on eMusic, both of whom do offer many Chandos
downloads.
For a low-price series, all the notes which I have
seen from this Introduction to ... series have been excellent
and this recording is no exception. If the programme appeals,
buy with confidence; the only reason why I have withheld any
accolade is the likelihood that purchasers are likely to duplicate
these performances in building their collection.
Don’t forget the Introduction to Vaughan Williams
(CHAN2028) if you weren’t fortunate enough to receive the free
offer. It contains The Wasps Overture, the Greensleeves
Fantasia, The Lark Ascending, that favourite of Classic
FM listeners, and the Second Symphony, all in more than decent
performances. I was particularly pleased to see Bryden Thomson’s
version of the symphony reappear in this form; it may not be quite
the equal of the Barbirolli version from which I first got to
know the work on a Pye Golden Guinea LP or Chandos’s own Richard
Hickox performance of the original version, but it is well worth
hearing as an alternative to the Hickox. Not everyone will want
to hear the fuller version every time. I might have preferred
the Tallis Fantasia to one of the shorter pieces – as a
lover of Tallis, I’m fascinated by the perfect blending of the
16th and 20th centuries in this work. However
I’m sure the Second was the right VW symphony to introduce to
the beginner and the Thomson recording is one of the best from
a variable series.
Brian
Wilson
[76:51]
